Everyday Classrooms: Feminist Pedagogy in #MeToo Era
In the #MeToo era, the discussion on sexual harassment/assault/violence has taken a new turn. While there has been a wave in which women have come forward to share their experiences there is a shift in attitudes, especially within institutional settings. The movement has generated fear and a mutated silence where most privileged individuals, cis-abled upper class men, are afraid of getting caught rather than understanding and engaging with sexual vulnerabilities that various sections of society experience. The accountability of people has been erased through imposition of institutional directives. The various steps being brought into institutional operations are to curb criticism rather than eliminate sexism and misogyny. In this environment, the paper examines and explores feminist pedagogy as a way to rethink and reorganise classrooms into equal, safe and empowering spaces. The paper analyses and presents various tenets and principles that can be used in classrooms, even the ones that are not focused on women and/or gender studies, where students and teachers share power and are made accountable towards one another and society
In Conversation with Jonathan Spence & Tobias Kelly
This is an interview with anthropologists Prof. Jonanathan Spencer (University of Edinburgh) and Prof. Tobias Kelly (University of Edinburgh) for ISA-eSymposium for Sociology. They have both mostly worked on political, legal and social anthropology. Spencer has worked in Sri Lanka for over 30 years whereas Kelly has focused on Palestine and the UK. This interview discusses the discipline of anthropology through their career, writings and opinions.
Performance and Subversion In Kathak
Kathak is considered a dance of the Northern region in India. Kathak started as a dance for upper caste Brahman men belonging to the caste called ‘Brahman Kathak’ which is also where the dance gets its name from. It draws from Hindu mythology and scripture and is said to explore the very complex ideology of spirituality. Kathak believes in the philosophy of advaita which means ‘oneness’ or whole. In the context of Kathak this implied that male Kathak dancers performed both the male and female acts of the dance. It is this argument which has enabled scholars to claim Kathak as an androgynous space. This kind of claims on performance and dance directs us towards unexplored aspects of sexuality and gender which Kathak as a dance tries to evade. Making these concerns the premise, I am exploring and examining the space that Kathak provides to women on and off stage. It is dealing with sexuality of the characters and performances where the woman is able to express male sexuality without any boundaries but while performing a female act she is constrained and remains a man’s fantasy. The essay in the end discusses various possibilities of subversion to challenge and explore new spaces for the voices of women dancers.
Is there such a thing as feminist technology?
From iPhones to microwaves to birth control pills, few of us take the time to consider whether technologies we use in our daily lives are gender neutral or if they are somehow encouraging gender stereotypes. Shivani Gupta of Feminist Approach to Technology (FAT) explains how the various technologies in our world can be tools of liberation or oppression.